Yamaha AN1x User manual

2

3
Contents
Playing Arpegg ia ted Cho rds ...........................................3 5
Arpeg g io MIDI O utput....................................................3 7
Using The Step Sequencer ..........................................37
Step Sequencer O n/ O ff .................................................3 8
Ste p Seq uence r Ho ld Mo de s ...........................................3 8
Vo ice Pattern And User Pa ttern Banks...............................3 9
Playing Step Seque nc er Patterns ......................................4 0
Step Sequencer Edit.......................................................44
Ste p Seq uenc er MIDI O utput .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .4 6
Using The Free EG
......................................................47
Free EG Parameters .......................................................47
Using The Control Features
.........................................49
Real-time Control............................................................49
Utility Co ntro l Assig n Functio n .........................................5 0
Control Matrix ...............................................................51
FEATURE REFERENCE
Voice Select .................................................................52
Knob Edit ....................................................................53
Knob Parameters .......................................................54
PEG/ LFO ......................................................................54
SYNC/ FM ....................................................................58
VCO 1 ..........................................................................61
VCO 2 ..........................................................................63
VCF..............................................................................64
MIX/ VCF......................................................................66
VCA .............................................................................68
ASSIGN .......................................................................70
Panel Parameter Edit
..................................................71
Edit Procedure ...............................................................71
Edit Parameters
..........................................................72
VO ICE SCENE SETUP ....................................................7 2
VO ICE CO MMO N ........................................................7 7
VO ICE FREE EG ............................................................81
VO IC E ARPEG G IO / SEQ ................................................8 5
SEQ EDIT/ SETUP...........................................................89
UTILITY SETUP................................................................92
Voice Recall
................................................................96
Voice Initialize ............................................................97
Store ...........................................................................98
Voice Store....................................................................98
Scene Store ...................................................................99
Factory Settings
........................................................100
APPENDIX
Voice Creation Examples ..........................................101
About MIDI ...............................................................109
Error Messages .........................................................112
Troubleshooting ........................................................113
Blank Chart ..............................................................114
Specifications ............................................................116
Index ........................................................................117
PRECAUTIONS............................................................ 4
INTRODUCTION
How To Use This Manual ..............................................5
Main Features ...............................................................5
The AN1x At A Glance .................................................6
The Making Of A Modern Classic .................................8
What Is A Voice? ..........................................................9
AN1x Memory Structure ..............................................9
ANALOG PHYSICAL
M ODELING SYNTHESIS
AN1x Tone Generator ................................................10
GETTING STARTED
System Examples .......................................................12
Switc hing O n The Po w er ................................................1 3
Playing The Demo Songs
............................................13
Basic Operation ..........................................................14
AN 1 x O p erating Mo de s.................................................1 4
Selec ting Vo ices .............................................................1 4
Using The C o ntro llers .....................................................1 5
CO NTRO L Knobs And Parameter G ro ups.........................1 6
AN1x Quick Tour
........................................................17
Explo ring The Fa cto ry-set Vo ic es ......................................1 7
Selecting Scenes And Scene Morphing
.......................19
Scene Memo ries .. ..........................................................1 9
Scene C o ntro l. ...............................................................2 0
Scene Sto re Functio n ......................................................2 1
Scene Lo ad Func tio n ......................................................2 2
Scene Sw ap Func tio n . ....................................................2 2
Selecting Layer Modes
................................................22
Laye r Mo d es .. ...............................................................2 2
Portamento Play
.........................................................24
Turning PO RTAMEN TO O n And O ff.................................2 4
Setting Po rta mento Time ..................................................2 5
Selec ting Po rtamento Mo de s ...........................................2 5
Selecting Parameter Groups
.......................................25
Using The CONTROL Knobs ........................................26
Assig ning Pa ra mete rs To Kno b s .......................................2 7
Using The Panel Edit Matrix
.......................................28
Editing Voices .............................................................29
Vo ic e Edit Pro c ed ure ......................................................2 9
Cre ating O rigina l Vo ices . ...............................................3 0
Store Operations
........................................................33
Turning ARPEGGIO/ SEQ On And off ..........................33
Using The Arpeggiator ...............................................33
Arpeg g iato r O n/ O ff . .....................................................3 3
Arpeg g io Ho ld Func tio n..................................................3 4
Arpeg g io Pattern Types...................................................3 4
Arpeg g io Sub divide .......................................................3 4

4
PRECAUTIONS
PLEASE READ CAREFULLY BEFORE PROCEEDING
* Please keep these precautions in a safe place for future reference.
WARNING
Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical
shock, short-circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following:
• Do not open the instrument or attempt to disassemble the internal parts
or modify them in any way. The instrument contains no user-
serviceable parts. If it should appear to be malfunctioning, discontinue
use immediately and have it inspected by qualified Yamaha service
personnel.
• Do not expose the instrument to rain, use it near water or in damp or
wet conditions, or place containers on it containing liquids which
might spill into any openings.
• If the AC adaptor cord or plug becomes frayed or damaged, or if there
is a sudden loss of sound during use of the instrument, or if any
unusual smells or smoke should appear to be caused by it,
immediately turn off the power switch, disconnect the adaptor plug
from the outlet, and have the instrument inspected by qualified Yamaha
service personnel.
• Use the specified adaptor (PA-3B or equivalent, recommended by
Yamaha) only. Using the wrong adaptor can result in damage to the
instrument or overheating.
• Before cleaning the instrument, always remove the electric plug from
the outlet. Never insert or remove an electric plug with wet hands.
• Check the electric plug periodically and remove any dirt or dust which
may have accumulated on it.
CAUTION
Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage
to the instrument or other property. These precautions include, but are not limited to, the following:
• Do not place the AC adaptor cord near heat sources such as heaters or
radiators, and do not excessively bend or otherwise damage the cord,
place heavy objects on it, or place it in a position where anyone could
walk on, trip over, or roll anything over it.
• When removing the electric plug from an outlet, always hold the plug
itself and not the cord.
• Do not connect the instrument to an electrical outlet using a multiple-
connector. Doing so can result in lower sound quality, or possibly
cause overheating in the outlet.
• Remove the adaptor plug from the outlet when the instrument is not to
be used for extended periods of time, or during electrical storms.
• Before connecting the instrument to other electronic components, turn
off the power for all components. Before turning the power on or off for
all components, set all volume levels to minimum.
• Do not expose the instrument to excessive dust or vibrations, or
extreme cold or heat (such as in direct sunlight, near a heater, or in a
car during the day) to prevent the possibility of panel disfiguration or
damage to the internal components.
• Do not use the instrument near other electrical products such as
televisions, radios, or speakers, since this might cause interference
which can affect proper operation of the other products.
• Do not place the instrument in an unstable position where it might
accidentally fall over.
• Before moving the instrument, remove all connected adaptor and other
cables.
• When cleaning the instrument, use a soft, dry cloth. Do not use paint
thinners, solvents, cleaning fluids, or chemical-impregnated wiping
cloths. Also, do not place vinyl or plastic objects on the instrument,
since this might discolor the panel or keyboard.
• Do not rest your weight on, or place heavy objects on the instrument,
and do not use excessive force on the buttons, switches or connectors.
• Do not operate the instrument for a long period of time at a high or
uncomfortable volume level, since this can cause permanent hearing
loss. If you experience any hearing loss or ringing in the ears, consult
a physician.
■ REPLACING THE BACKUP BATTERY
• This instrument contains a non rechargeable internal backup battery
which permits internal data to remain stored even when the power is
off. When the backup battery needs replacing, the message "Battery
Low" will display in the LCD. When this happens, immediately back up
your data (using an external device such as the floppy disk-based
Yamaha MIDI Data Filer MDF2), then have qualified Yamaha service
personnel replace the backup battery.
• Do not attempt to replace the backup battery yourself, in order to
prevent the possible serious hazards. Always have qualified Yamaha
service personnel replace the backup battery.
• Never place the backup battery in a location that a child can reach,
since a child might accidentally swallow the battery. If this should
happen, consult a physician immediately.
■ SAVING USER DATA
• Save all data to an external device such as the Yamaha MIDI Data Filer
MDF2, in order to help prevent the loss of important data due to a
malfunction or user operating error.
Yamaha cannot be held responsible for damage caused by improper use or
modifications to the instrument, or data that is lost or destroyed.
Always turn the power off when the instrument is not in use.
The LCD screens and diagrams in this owner's manual are for
instructional purposes only, and may be different from the ones on your
instrument.

5
How To Use This M anual
This o wner’s manual pro vides yo ur b asic ke ys to unlo c king the p o wer o f
the AN 1 x C o ntro l Synthesiz er. It is divide d into the fo llo wing sectio ns:
INTRODUCTION Pro vides a brief rund o wn o f the AN 1 x’s main
fea tures and desc riptio n o f a ll fro nt a nd rear p anel c o ntro ls a lo ng
with info rmatio n a bo ut the AN 1 x’s memo ry structure . W e
rec o mmend yo u ta ke a few minutes a nd read the
IN TRO DUC TIO N sectio n c are fully befo re yo u g et started in o rd er
to fa miliarize yo urself w ith the b asic feature s a nd c apabilities o f
the AN 1 x.
ANALOG PHYSICAL MODELING SYNTHESIS Pro vides a n
o vervie w o f the basic co nce pt o f the to ne g eneratio n te chno lo g y,
plus descriptio ns o f b asic te rmino lo g y a nd a sig nal flo w b lo c k
diagram, in o rde r to g ive yo u a n unde rsta nd ing o f wha t’s g o ing o n
inside the instrument as yo u twiddle the kno bs and set para meters.
Congratulations! And thank you for choosing Yamaha. You are now the proud ow ner of the AN1x Control Synthesizer, a
fully-professional digital keyboard w ith pow erful sound and versatile real-time control features. The AN1x is a modern
music dynamo capable of faithfully delivering the w arm, fat, punchy sounds of the legendary analog synths—w ith the
same familiar oscillator, filter and other sound creation elements and intuitive, "hands on" style of operation—plus all the
sophisticated flexibility you'd expect from a professional digital synthesizer.
GETTING STARTED Pro vides a basic o ve rvie w o f ho w to set up
yo ur AN 1 x and quickly familiarize yo urself with all its key features
and o pera tio ns. W e re co mme nd yo u actually b e sitting in fro nt o f
yo ur AN 1 x a s yo u re ad thro ugh the G ETTIN G STARTED sec tio n,
so yo u c an try o ut e ac h fea ture a lo ng the way to g et a tho ro ugh
unde rsta nding o f ho w the AN 1 x wo rks.
FEATURE REFERENCE Pro vide s a c o mpre he nsive e xpla natio n o f
all AN 1 x features. This is in essence a dictionary which yo u can
refer to a ny time yo u nee d to kno w the deta ils abo ut a ny g iven
feature.
APPENDIX Pro vides info rmatio n re la ted to MIDI, tro ublesho o ting ,
and mo re .
A se para te Da ta List b o o k pro vides vo ic e, Arpeg g iato r Type , Effect
Type a nd o ther lists a nd info rmatio n.
M ain Features
The AN1x Control Synthesizer is a truly innovative professional keyboard with enormously flexible
sound and performance capabilities. Following is a brief rundown of the main features:
Analog Physical M odeling synthesis
The AN1x generates amazingly high quality synth sounds in much the same way as traditional
legendary analog synthesizers— using voltage controlled oscillators and filters, low frequency
oscillators, ring modulator and voltage controlled amplifiers— but with the additional benefits
of digital multi-effects, MIDI control and much more.
128 voices and maximum 10 notes polyphony
The AN1x comes with an impressive array of 1 2 8 voices preprogrammed and ready to play, each of w hich
can be edited and overwritten to store your ow n. Ten notes of polyphony provide for versatile SINGLE,
DUAL and SPLIT play options.
Intuitive interface w ith "hands on" voice editing and multiple assignable
real-time controllers
The AN1x' s eight CONTROL knobs and panel Edit matrix give you direct and instant access to
many parameters as you play. All controllers are assignable, including [ PITCH] and
[ MODULATION] wheels and various foot pedals, plus the [ RIBBON] controller w ith horizontal slide
( X) and pressure ( Z) cont rol of filt er, LFO, delay and m ore. The Control M atrix function perm its
easy assignment of up to 16 sets of " source" controllers ( MW, FC, Key Touch, etc.) to destination
parameters ( VCA, Filter, LFO, etc.) for each Scene, all of which can be stored as voice data for
each voice.
2 Scene memories for each voice, w ith real-time morphing betw een Scenes
Each voice has two Scenes, each of which can be selected by pressing a [ SCENE] switch. This
provides two distinct sounds within each voice available for instant recall as you play. You can
press both [ SCENE] switches to activate the " Scene Control" function, and roll the
[ MODULATION] wheel ( or press a foot pedal or use any other continuous controller) to morph,
or cross-fade betw een the sounds of Scene 1 and Scene 2 as you play.
Six types of Layers to choose from for each voice
SINGLE, UNISON, DUAL, DUAL UNISON, SPLIT, and SPLIT UNISON Layer modes give you a
wide choice for control over how the two Scenes are configured to play in relation to each
other for each voice.
Arpeggiator w ith 30 patterns and various play options, plus MIDI data
output
The Arpeggiator lets you play perfect arpeggiated chords at the simple press of a key. You can
have the Arpeggiator play only one or both Scenes, or play one Scene to the left of the Split
Point w hile you play the other Scene normally to the right. You can choose from various types
of arpeggio patterns, including Up, Down, and Up& Down across one or more octaves, plus
various special patterns including Techno, House, Random, and more. The arpeggio pattern
data can be output via MIDI on its own MIDI channel.
Easy-play/ edit “ Step Sequencer” w ith 128 Voice Patterns and 128 User
Patterns
The Step Sequencer permits quick, easy creation of highly sophisticated looped patterns which
can be triggered from the keyboard in a variety of w ays. Each individual step event (Note,
Velocity, Gate Time, and Control Change) can be accessed and edited by a specific CONTROL
knob, over a maximum of 16 steps. There are a variety of handy Step Sequencer edit and
play options, including “ Play Effects” which give you detailed control over the “ feel” of your
sequence. Pattern event data can be output via MIDI on its own MIDI channel.
4-track “ Free EG” records and plays real-time changes of knob positions
for up to four different parameters
The 4-track Free EG lets you record real-time CONTROL knob movements, in order to “ hand
draw” filter, resonance, LFO and many other available parameters over time— and have them
play back automatically by simply playing a voice. You can control up to four different
parameters independently, each recorded into its own Free EG track. Ideal for those times
when you wish you had an extra couple of pairs of hands, the Free EG lets you build up an
incredibly complex, completely unique voice.
Programmable multi-effects and 3-band EQ for each voice
The AN1x has three types of programmable multi-effects plus EQ built into the voice
architecture, w hich lets you customize the effects configuration for each voice. There are 8
Reverb effects, 5 Delay effects, 14 Variation effects ( which includes Chorus, Auto Pan, Pitch
Change, Compressor, Distortion effects and more) , and a stereo 3 -band Equalizer. An Effect
Bypass function lets you bypass all effects or specific ones at the press of a switch.

PITCH MODULATION
VOLUME
CTRL
SCENE
Algorithm
Wave
Attack
Attack
ASSIGN 1 ASSIGN 2 ASSIGN 3 ASSIGN 4
PEG Decay
Wave
VCO1
Fine Fine
PEG Sw
FM Src2 LFO2 Spd
PmodDepth PmodDepth
Level
LFO1 Wave LFO1 Spd LFO1 Dly
PW
ASSIGN 5 ASSIGN 6 ASSIGN 7 ASSIGN 8
VCF
Cutoff
Sync
Pmod Sw
Sync Pitch
Pitch Pitch
PEG Depth
Decay
Decay
VCO2
Level
FM Depth FM Src1
PHONES L/ M ONO
OUTPUT
RDC IN POWER FOOT
VOLUME FOOT CONTROLLER FOOT
SWITCH
Sync Pitch
Depth
Sustain Ring
Mod
Sustain
Sync Pitch
Src
Edge
Port Time
Edge
Release
Release
Noise
Level
PW
HPF
Feedback
VCF
PWM Depth PWM Src PWM Src
PWM Depth
Type
Reso
nance
Volume
FEG
Depth Fmod
Depth
Amod Depth
Vel
Sens Key Track
Vel Sens
IN OUT
MIDI
THRU
PROGRAM CHANGE
VWX
MNO
7YZ 8
PQR
5
GHI
2
–
4
DEF
1
ABC
0
NO
KNOB PARAMETER GROUP
PEG/LFOSYNC/FM
VCO1 VCO2
MIX/VCF
VCF
VCA ASSIGN
[VOLUME] knob
This knob controls the AN1x’s overall
volume level output from the PHONES
and OUTPUTjacks. Turn the [VOLUME]
between left-most (minimum) and right-
most (maximum) positions to set the
proper listening level whether using
headphones or amplified speakers.
[SCENE] sw itches
Each of the AN1x's 128 voices has two Scene
memories, each of which are instantly accessible
by pressing the [SCENE1] or [SCENE 2] switch.
Each Scene can have its own distinct sound.
Pressing both [SCENE] switches simultaneously
activates the Scene Control function, which lets you
"morph", or cross-fade between Scenes in real-
time using the assignable [MODULATION] wheel,
an assignable Foot Controller, or any other
continuous controller.
[RIBBON] controller
The assignable [RIBBON] controller gives you
horizontal slide (X) and pressure (Z) control of
designated controllable parameters as you play,
including filter cutoff, resonance, LFO, panpot,
reverb, and more.
[PITCH] w heel
The [PITCH] wheel lets you bend the pitch up or
down as you play. It is spring-loaded to
automatically return to center position when you let
go of it. You can use the Control Matrix to designate
specific Pitch Bend parameters for the upper and
lower bend ranges for each Scene.
[MODULATION] w heel
The assignable [MODULATION] wheel lets you
apply modulation or another designated
controllable parameter as you play, or morph
between Sceneswhen the Scene Control function is
active (and the [MODULATION] wheel is
designated as the source controller).
CONTROL knobs w ith push-sw itch (knob parameters)
The eight assignable CONTROLknobs are used for real-time control and edit of the various tone
generator parameters, depending on which KNOB PARAMETERGROUPselect switch is currently
selected, plus instant access to each step event when the [EDITROTARY] switch is set to the SEQ
EDIT/ SETUPmenu. Press a CONTROLknob (push-switch) to confirm the current parameter in the LCD.
Turn a CONTROLknob left to decrease values or right to increase them. Make fine edit adjustments by
turning a knob while pressing it. Since all CONTROLknobs are assignable, you can have each one
access one of many different available parameters to give you maximum real-time control over specific
aspects of your sound, including versatile control of external instruments via MIDI output.
KNOB PARAMETER GROUP sw itches
These switches determine which set of parameters are
controlled by the CONTROLknobs. The switches are
color coded in cross-reference to the parameter names
as printed in the same color on the panel beside each
knob. Whenever you select a voice, the [ASSIGN]
switch is automatically selected, to give you instant
access to your assigned CONTROLknob parameters.
The AN1x At A
Front Panel
Rear Panel
1MIDI terminals
MIDI [IN], [OUT] and [THRU] terminals let you connect external MIDI
devices such as a MIDI keyboard, tone generator, sequencer or
computer or others, using a MIDI cable. [IN] is for input of MIDI data,
including data dumps from another AN1x or MIDI data storage
device. [OUT] is for output of MIDI data, including data dumps to
another AN1x or MIDI data storage device. [THRU] is for “daisy-
chain” connection of additional MIDI instruments, as the MIDI data
received at the AN1x’s [IN] terminal is passed along unchanged to
the [THRU] terminal.
FOOT
VOLUME
FOOT
CONTROLLER
FOOT
SWITCH ON OFF DC IN R L/MONO
OUTPUT PHONES
POWER
ASSIGNABLE
MIDI
OUTTHRU IN
6

PROGRAM CHANGE
OTHERS
STU
9
6
JKL
3
YES/ENTER
DEMO
PORTAMENTO
STORE ARPEGGIO/SEQ
LAYER
CONTROL SYNTHESIZER
ANALOG PHYSICAL MODELING
CTRL
PEG LFO2 LFO1
VCO
VCO1 SYNC
MASTER SLAVE
FM
VCO2
MIX/VCF
MOD
RING
NOISE
VCAVOLUME
AEG
FEEDBACK
VARI EQ
DLY REV
EFFECT
Mode
Poly Port
Tempo Split Pnt
Track Common
Trigger LoopType
Common
Arp/SEQ Type/No
Knob
Event 1-8/9-16
System
MstrTune K bd Trans
VOICE
SCENE SETUP
VOICE
COMMON
VOICE
FREE EG
VOICE
ARPEGGIO/ SEQ
SEQ
EDIT/SETUP
UTILITY
SETUP
LFO Rst Ctrl Matrix Set No
Vari EF/ EQ
Param Data
Length Key Track
KbdMode Hold
Step Hold Pattern
Bank
Kbd Vel MIDI
Tx Ch
Param Source
Dly/ Rev EF
Param
Param
Track
Track No
SceneSw MIDI
Ptn Tx Ch
No Base Unit
DeviceNo Local BulkDump
Length LoopType
Arpeggio
Subdivide Play EF Swing
SceneSw Track Job
Rec
Data
Depth
EF
Bypass
Layer
Pan Separate Unison
Detune
Name
Cursor Char
Copy Undo
Velocity GateTime
Ctrl No SEQ
Store
Ctrl
Device Ctrl No
PROGRAM CHANGE keypad
The PROGRAM CHANGE keypad is primarily
used for selecting a voice or confirming the
currently selected voice name and number.
Other functions include selecting letters when
naming a User voice, and confirming ([YES]) or
canceling ([NO]) specific store and other
operations.
[PORTAMENTO] sw itch
For turning the portamento function on and off.
[LAYER] sw itch
For selecting one of the six Layer modes.
[STORE] sw itch
For initiating Store operations.
[ARPEGGIO/ SEQ] sw itch
For turning the Arpeggiator or Step Sequencer
on and off.
DEMO
Pressing [PORTAMENTO] and [LAYER]
simultaneously lets you access the
Demonstration songs.
[EDIT ROTARY]
sw itch
The 6-position [EDIT
ROTARY] switch lets you
designate one of the six
Edit menus, as printed on
the panel to the right of
each menu.
LCD
The back-lit LCD (Liquid Crystal
Display) provides various types
of information which clearly
indicates the current operating
status of the AN1x as you select
voices, turn knobs and press
switches.
At A Glance
Synthesis Block Diagram
The Analog Physical Modeling synthesis
block diagram provides a handy visual
reference or reminder of how the signal
flows through the key blocks, or
components of the AN1x's tone
generation architecture, which is helpful
when manipulating the various
parameters during voice editing or real-
time sound control.
Parameter value [UP/ DOWN] sw itches
These ten switches are used to access and edit specific parameters (as printed on the
panel), depending on which Edit menu is currently selected with the [EDIT ROTARY]
switch. Pressing the upper area of a parameter value [UP/ DOWN] switch
incrementsthe parameter value or setting, and pressing the lower area decrements
it. Simply pressing a switch once will display the parameter name and current value
or setting in the LCD. Thereafter, pressing or holding the upper or lower area of the
switch will change the value or setting accordingly.
Keyboard
The 61-key touch-sensitive
keyboard features Initial
(velocity) and After Touch
(pressure) control.
2[FOOTSWITCH] jack
An optional Yamaha FC4 or FC5 Footswitch connected to the [FOOTSWITCH] jack can be
used to control hold on/ off, Portamento on/ off and other discrete controllers.
3[FOOT CONTROLLER] jack
An optional Yamaha FC7 foot controller connected to the [FOOT CONTROLLER] jack can be
used for control of various continuous or discrete controllers, depending on controller
assignment.
4[FOOT VOLUME] jack
An optional Yamaha FC7 foot controller connected to the [FOOTVOLUME] jack can be used
to regulate overall volume (or any other assigned continuous controller function.).
5[POW ER] sw itch
Press the [POWER] switch to turn the AN1x on and off.
6[DC IN] terminal
Connect the supplied Yamaha PA-3B Power Adaptor to the [DC IN] terminal.
(CAUTION: Do not attempt to use an AC adaptor other than the Yamaha PA-3B or
equivalent, since the use of an incompatible adaptor may cause irreparable damage to
the AN1x, and may even pose a serious shock hazard.)
7OUTPUT jacks
The stereo OUTPUT jackslet you connect the AN1x to an external stereo
amplifier/ speaker system. When using a mono system, connect it to the [L/ MONO]
jack.
8[PHONES] jack
The [PHONES] jack lets you connect a set of stereo headphones to the AN1x for private
listening.
7

8
The History…
W hy is the “ a nalo g so und” so po p ula r in a dig ital
ag e? W hat lo ng and winding ro ad had to be
traveled— just to end up right back where we started
fro m? Let’s ta ke a quick lo o k a t ho w we g o t fro m there
to here, and where here really is, a nyway.
Electro nic music synthesis has b een a ro und in o ne fo rm
o r a no ther since the b eg inning o f the 2 0 th Century. But
it wa sn’t until the e arly 1 9 7 0 s that develo pments in
vo lta ge co ntro lled synthe sis techno lo g y ma de the
c o nc ep t p ra ctica l— a nd affo rdab le.
As such, the vo ltag e c o ntro lled synthesiz er b ec ame le ss
and less an experimental curiosity in the wo rld’s g rea t
universities and sound labs and mo re and more a
valid— and re vo lutio nary— musical instrument in its o wn
rig ht. It q uickly bec ame a sta ple in pro fessio nal
re co rding studio s, and its myriad so unds starte d
g rac ing the e ars o f millio ns thro ug h po pula r reco rd ings
in litera lly a ll g enres o f music .
Then c ame the 1 9 8 0 s, a nd the intro ductio n o f wildly
po pula r, affo rd ab le-fo r-the-ma sses, g rea t-so unding and
easy-to -use digital synths like the famo us Yamaha DX7 .
W hat fo llo wed wa s the MIDI revo lutio n, whic h dro ve
the rapid develo pment o f ever-mo re -so phistica ted multi-
timb ral digital synthesizers and to ne g enera to rs, a lo ng
with the o verwhelming acceptance o f digital sampling
which has literally changed the way we create and
liste n to music. And all o f whic h have g o ne hand-in-
hand with the de skto p music revo lutio n.
Mo st recently there has b een the intro duc tio n o f
breakthro ug h physic al mo de ling synthe sis techno lo g y,
which has been successfully applied to the accurate
re pro ductio n o f a co ustic instrument so unds thro ugh
purely electro nic means, as well as the creatio n o f new
“ hybrid-type” aco ustic-o riented so unds.
The M ak ing Of A M odern Classic
The classic a nalo g synth so und is back with a vengeance and mo re po pular than ever. Vintage analo g synthesizers are hot
items, re circ ulating and finding their way into the a rsenals o f the wo rld’s mo st inno vative music make rs, ma ny o f who m
were n’ t e ven b o rn when the vo ltag e c o ntro lled synthesiz er wa s c o ming o f a g e mo re than a quarter o f a c entury ag o .
Enter the Yama ha AN 1 x C o ntro l Synthesiz er— a mo dern c lassic in its o wn right— co mplete with the VCO , VCF, and VCA
blo cks, o r " mo dules" that g ive retro synths that famo usly fat, rich, wa rm so und, plus multiple kno bs fo r c o ntro lling every nuance
o f the so und, and even an o n-b o ard Arpeg giato r and Step Seq uencer fo r g enera ting pattern lo o ps at the pre ss o f a key.
W hat’s much mo re, ho wever, is that the AN 1 x inco rpo rates features that vintag e synths co uld o nly dream abo ut—like three o n-
bo a rd pro g rammab le dig ita l multi-e ffec ts units a nd a 3 -b and ste reo EQ , a multiple co ntro ller-to -paramete r a ssig nment architecture,
a 4 -tra ck Free EG fo r “ hand dra wing ” rea l-time kno b po sitio n mo vements o f up to fo ur different to ne g enera to r pa ra mete rs, plus
re al-time mo rphing be twe en two differe nt so unds, and mo re— all o f w hich ca n b e custo mize d fo r eac h o f the 1 2 8 vo ices a nd
sto re d as individual vo ice data .
Enter Analog Physical
M odeling…
The classic analo g synth never fell o ut o f favo r with the
wo rld ' s mo st inno va tive musicia ns. That' s b ec ause it
has a spe cial punch, po w er, plus impo rta nt ele ments o f
interactivity that digital synths and samplers have
tende d to la ck b y c o mpariso n.
And no w, with the de mand fo r that " c la ssic a nalo g
so und" due to the g lo b al po p ula rity o f tec hno , trance,
and o ther mo dern fo rms o f dance music, it' s hardly
surprising that Yama ha —a c o mpa ny co nsistently a t the
very pinnacle o f e lectro nic music al instrument
tec hno lo g y— wo uld rea ct to that demand a nd cre ate a
co mpletely new pe rfo rmance -o riented " c o ntro l
synthesizer" that ta kes the co mpany' s o rigina l
breakthro ug hs in physic al mo deling synthesis a nd uses
it to digitally " mo del" the analo g so und-g enera ting
co mpo nents which g ives vo lta g e co ntro lled synthe sis its
unique character and virtually unlimited rang e o f
so und.
And pa cka ge it with a ho st o f d ig ita l e xtras to bring
the techno lo g y full c ircle with a c o mple teness and utility
never befo re po ssib le.
In sho rt, the AN 1 x is a lo g ica l— a nd time ly—
develo pment in the evo lutio n o f electro nic music al
instrument histo ry, based o n the mo dern nee ds a nd
dema nds o f the wo rld’s c utting-edg e music ia ns. And
o nce a ga in, as is o ften the c ase with c rea tio ns fro m
Ya ma ha, music histo ry will never b e the sa me.
All the to o ls are in the bo x. The re st is up to yo u… .

9
W hat Is A Voice?
O ver the ye ars, the me aning o f the term “ vo ice” , w hen
applied to synthe sizers, ha s varied d epending o n
manufacturers and mo de ls. In g enera l, it means a so und,
whic h in so me synths is c alle d a “ pa tc h” , a nd in o thers a
“ pro g ram” .
W ith the AN 1 x, a vo ice is a c o nfig uratio n o f all to ne
generato r and o ther pa ra meter setting s, including effects
setups a nd da ta fo r a sing le Vo ice Pa ttern, b ut e xcluding
system setting s o r the b ank o f Step Seq ue nc er User
Pa tterns. The refo re, e ac h o f the 1 2 8 vo ic es in memo ry
ca n have its o wn unique c o nfig uratio n o f all main
parameters.
AN1 x M emory Structure
The AN 1 x has a simple and straightfo rward memo ry structure. There
are o nly two ma in types o f data : vo ic e data a nd system da ta. There
is a lso a separate memo ry fo r the Ste p Seq uencer User Pa ttern ba nk.
Voice Data
Vo ice da ta is co mprised o f the vario us pa rameter
setting s whic h make up each o f the 1 2 8 User vo ic es,
as fo llo ws:
●To ne g enera to r settings b ased o n C O N TRO L kno b
po sitio ns fo r e ac h KN O B PARAMETER G RO UP
parameter, PO RTAMEN TO switch status, Scene
status and Scene-related parameters, including
Co ntro l Matrix a ssignme nts, Mo de settings a nd
Va riatio n Effec t Dry:W e t setting .
●LAYER mo de setting and Laye r paramete rs including
Pa n, Sepa ratio n a nd Detune settings.
●VO ICE CO MMO N (i.e., parameters which a ffect
bo th Sc enes) settings including Tempo , Split Po int,
Effect co nfig ura tio ns and vo ice N ame.
●Free EG parameter setting s and track data and
o ther settings.
●ARPEG G IO / SEQ switch sta tus a nd the vario us
Arpeggiato r and Step Sequencer parameter
setting s, including Play Effect setting s, plus Step
Seque nce r Vo ice Pa ttern data .
System Data
System data is mad e up o f the vario us “ g lo bal”
parameter setting s which remain in effect reg ardless of
which vo ice is selec ted, as fo llo ws:
●UTILITY SETUP p ara meters, including the settings fo r
System tuning and ke ybo a rd tra nspo sitio n a nd
velo c ity, MIDI-re la ted para mete rs, and Co ntro l
device and number assig nments.
User Pattern Data
User Pattern data is made up of the Step Seq uencer
User Pattern bank which ho lds 1 2 8 User Patterns.
Voice Data 128 User Voices
SCENE 1 Utility Setup Parameters
SYSTEM: MASTER TUNE, VELOCITY,
KEYBOARD TRANSPOSE
MIDI: TRANSMIT CHANNEL,
RECEIVE CHANNEL (each Scene),
PATTERN TRANSMIT CHANNEL,
DEVICE NUMBER, LOCAL,
BULK DUMP, EFFECT BYPASS
CONTROL: ASSIGNABLE KNOB CONTROL
CHANGE NUMBERS, CONTROLLER
CONTROL CHANGE NUMBERS
Layer Parameters
PAN, SEPARATE, DETUNE
Voice Common Parameters
TEMPO, SPLIT POINT, EFFECT, NAME
Pattern Parameters
ARPEGGIATOR or SEQUENCER,
ARPEGGIATOR PATTERN NUMBER,
VOICE PATTERN, KEYBOARD MODE, HOLD,
SCENE SWITCH, SUBDIVIDE (Arpeggiator only),
PLAY EFFECT (Arpeggiator = Velocity only)
Free EG Parameters
TRIGGER MODE, LOOP TYPE, LENGTH, KEY TRACK
SCENE 2
LAYER
(SINGLE/UNISON/
DUAL/DUAL UNISON/
SPLIT/SPLIT UNISON)
PORTAMENTO
(On/Off)
ARPEGGIO/SEQ
(On/Off)
Tone Generator Knob Parameters
PEG, LFO1, LFO2, VCO1, VCO2, SYNC, FM, MIXER
(NOISE, RING MODULATOR), VCF (FEG), VCA (AEG)
Scene Setup Parameters
POLY/MONO/LEGATO, PORTAMENTO MODE,
LFO RESET, CONTROL MATRIX (Assignments),
VARIATION EFFECT DRY:WET
System Data
Step Sequencer
(User Pattern Bank)
No (1 ~ 128)

10
AN1 x Tone Generator
As the AN1x Tone Generator Block Diagram
illustrates, the VCO module generates the basic
signal, then passes it along the signal path to
the MIX/ VCF module, w hich processes the signal
in a variety of w ays before passing it on to the
VCA module, w hich amplifies the signal before
passing it along the signal path to the EFFECT
module comprised of three multi-effects units
and a stereo equalizer, after w hich the signal is
output from the AN1x's stereo outputs. Along
the w ay, various real-time and other controllers
can be applied to each module in a variety of
w ays.
Oscillators, Filters And Amplifiers
W hat do es it ta ke to ma ke a so und? And ho w do e s the
AN 1 x g ene rate so unds?
In the simplest o f te rms, there are three b asic e lements whic h
make up a so und: pitch, o r ho w lo w o r hig h it is; to ne, o r
wha t its o vera ll q uality, o r timbre is like ; a nd a mplitude, o r
ho w lo ud the vo lume le vel is.
Synthesiz ers rely o n three key e le ctro nic co mpo nents to g e nera te
so unds a nd e le ctro nic ally imitate the so undwa ve s o f familiar music al
instrume nts, a s w ell a s c reate entire ly unique so unds. In tra ditio nal
analo g synthesis, the so urc e so und p itch is g enerate d b y a n
o scilla to r; its to ne is crea te d b y a filter; and its vo lume is de termined
by an amplifier. W ith the AN 1 x, these three elements are termed
the VCO (vo lta g e c o ntro lle d o scilla to r), the VCF (vo ltag e co ntro lled
filter), a nd the VCA (vo lta g e c o ntro lled amplifier).
The “ signal path” starts at the VCO , flo ws to the VCF, then
flo ws to the VCA. The sig nal is “ pro c essed” a t ea ch blo ck, o r
“ mo d ule” a lo ng the way to the fina l o utput.
VCO VCF VCA OUT
The amplifier determines
the volume
The oscillator creates the source pitch
The filter determines the timbre
1VCO
The VCO mo dule is where the o rig inal so und w avefo rm g ets
g enera ted. Altho ug h a sing le o scillato r is eno ug h to genera te
the b asic sawto o th, pulse (squa re) o r o ther w aves required
fo r different types o f musica l instrument so unds, the AN 1 x’s
VCO mo dule is much mo re co mplex.
First, there’s a VCO 1 which includes an additio nal saw2 and
mix wave, a nd which ca n be co nfig ure d with o ne o f three
“ sync a lg o rithms” that sync s “ master” and “ sla ve ” o scillato rs
within the VCO 1 , and can be modulated by FM acco rding to
the a lg o rithm. Thus, when the sync is o n, the VC O 1 is
ac tually two o sc illa to rs in o ne, a nd three additio nal “ inner”
waves are available.
The VCO 1 is always fixed as the FM ca rrier, but the carrier
ca n either b e the master o r sla ve o scillato r depending o n the
sele cte d alg o rithm. The FM mo dulato r c an b e selecte d fro m a
sec o nd VCO (VCO 2 ), the PEG , FEG , LFO 1 , LFO 2 o r o thers.
The Pitc h Envelo pe G enera to r (PEG ) lets yo u determine ho w
the pitch o f the VCO chang es o ver time, a nd the LFO c an b e
used to mo dulate the VCO to cre ate vibra to .
For more information, see as follow s:
VCO 1 — pa ge 6 1
VCO 2 — pa ge 6 3
SYN C/ FM — pag e 5 8
PEG / LFO — pa ge 5 4
2M IX/ VCF
The MIX/ VCF mo dule is w here the mixing o f VCO 1 ,
VCO 2 , Ring Mo dulato r, N o ise a nd Feedb ack sig nals
take plac e, which can then be filtered by the VCF High
Pass Filter (HPF), Lo w Pass Filter (LPF), Band Pass Filter
(BPF) and Ba nd Eliminate Filter (BEF). Yo u ca n
determine the cuto ff fre quency o f the VCF, a s w ell as
amo unt o f Reso na nc e, o r emphasis a ro und the
frequency c uto ff po int. The Filter Envelo pe G enerato r
(FEG ) lets yo u determine ho w the timbre o f the sig nal
changes o ver time, and the LFO 1 can be used to
mo dula te the VC F to cre ate wa h.
For more information, see as follow s:
MIX/ VCF — pa ge 6 6
VCF — pa ge 6 4
HPF — p ag e 6 7

11
LPF, HPF, BPF, BEF — page 6 7
FEG — pa ge 3 1
PEG / LFO — pa ge 5 4
RIN G MO DULATO R — pag e 6 6
N O ISE — pa ge 6 6
3VCA
The VCA mo dule is where the o vera ll o utp ut level o f
the signal gets determined, as well a s the Feedba ck
level whic h g e ts “ fed b ack” to the mixer in the
MIX/ VCF mo dule . The Amplitude Envelo pe G e nerato r
(AEG ) lets yo u dete rmine ho w the vo lume o f the sig nal
changes o ver time, and the LFO 1 ca n be used to
mo dula te the VC A to create tremo lo .
For more information, see as follow s:
VCA — p ag e 6 8
VO LUME — p ag e 6 9
FEEDBAC K — pa ge 6 9
AEG — pa ge 3 2
PEG / LFO — pa ge 5 4
4EFFECT
The EFFECT mo dule is where three different types o f
pro g rammab le effects, as well a s pro g ra mmable 3 -band
EQ , can be a pplied. The 1 4 Variatio n Effects include
Chorus, Flanger, Phaser, Auto Pa n, Ro tary Speaker,
Pitc h Change, Aural Exc iter, Co mpresso r, Disto rtio n,
O verdrive, Amp Simulato r a nd mo re . The 5 Delay
effects include Delay LCR, Delay LR, Echo , and Te mpo
Delay, which automatically matches the delay time to the
current tempo setting . The 8 Reverb effects include
vario us Hall, Ro o m and Sta ge typ es a nd mo re. Delay
and Reverb effects can be co nfigured in a serial o r
para llel co nnec tio n, a nd specified e ffec ts o r a ll effects
(exc luding the EQ ) c an be bypa ssed a t will. Co ntro llers
ca n be desig nated to co ntro l specific e ffec t p arameters.
For more information, see as follow s:
Va ri EF/ EQ — pa ge 7 7
Dly/ Re v EF — pag e 7 9
EF Bypass — pag e 8 0
5CONTROL
Specific parameters o f the VCO , MIX/ VCF, VCF, VCA
and EFFECT modules, as well as the PEG , LFO 1 and
LFO 2 ca n b e co ntro lled by many different types o f real-
time co ntro llers, including [MO DULATIO N] wheel,
[RIBBO N ] co ntro lle r X- o r Z-axis, the eig ht a ssignable
CO N TRO L kno bs, a co nnected [FO O T CO N TRO LLER],
ke ybo ard After To uch, and mo re, including MIDI
Co ntro l Change messag es rec eived at the MIDI [IN ]
terminal.
The AN 1 x’s Co ntro l Ma trix a nd UTILITY SETUP Co ntro l
Assig n functio n wo rk to g ether flexibly to give yo u
co mplete autho rity o ver whic h o n-b o ard o r e xternal
co ntro ller co ntro ls w hich individua l internal o r exte rnal
parameter.
For more information, see as follow s:
Co ntro l Feature s — p ag e 4 9
Co ntro l Matrix — pag es 5 1 , 7 3
Utility C o ntro l Assig n — pa ges 5 0 , 9 5
VCO
VCO1 SYNC
MASTER SLAVE
FM
VCO2
VCA VOLUME
AEG
FEEDBACK
VARI EQ
DLY REV
EFFECT
AN1x Tone Generator Block Diagram
MIX/VCF
MOD
RING
NOISE FEG
MIX HPF
VCF
CTRL
PEG LFO2 LFO1

12
To avoid possible damage to the speakers or other connected electronic devices, before switching on the
power of any device, make sure the AN1x’s [ VOLUME] level and the volume levels of the connected
equipment are set to minimum positions.
The AN1 x In A M IDI System
It’s easy to create a simple but po werful MIDI music
system w ith o nly a few basic c o mpo nents. The
illustratio n belo w sho ws ho w to co nnec t the AN 1 x to a
Ya maha Q Y7 0 0 Music Seq uence r.
Yo u c an have the AN 1 x’s Tempo setting co ntro l the
external sequencer’s c lo c k, o r the sequencer’s c lo c k
co ntro l the speed o f the AN 1 x’s Arpeg giato r o r Step
Sequencer.
For details about assigning AN1x MIDI transmit and receive channels, see page 9 3 . For
details about assigning MIDI channels and other settings for the external sequencer or other
devices which may be connected, consult the owner’s manual for each. For more
information about MIDI, see the APPENDIX, page 109.
QY700
MIDI OUT
MIDI IN
MIDI IN
AN1x
MIDI OUT
Amp
Mixer
AN1x
Speaker Speaker
Headphones
12345678910111213141516LR
L R INPUT
R OUTPUT
L
R OUTPUTPHONES L
FC4 FC7
System Examples
There are many w ays to incorporate the AN1x into
a simple or expanded music system. Follow ing are
a few of the most common examples.
The AN1 x By Itself
At the simplest level, all yo u need to do is co nnect
stere o hea dpho nes to the [PHO N ES] ja ck lo c ated o n
the rea r panel, and yo u’re ready to go . To use the
AN 1 x a s a sta nd-alo ne perfo rmance instrument, simply
co nne ct it to amplified speakers and o ptio nal FC Fo o t
Co ntro ller a nd Fo o tswitch pedals a s sho wn in the
diag ram at right.
Setting Up Your AN1x
The AN 1 x C o ntro l Synthesizer is a n ide al sta nd-alo ne pe rfo rmanc e-
based e le ctro nic music al instrume nt as we ll a s a p o werful c o mpo nent
in a n e xpa nd ed MIDI music syste m. Fo llo w ing are instructio ns fo r
pro per setup o f the AN 1 x a nd c o nnectio n to externa l devic es.
1. After carefully taking your new AN1x out of
the box, place it on a keyboard stand or on
top of a sturdy table or desk.
2. Next, connect the supplied Yamaha PA-3B (or
equivalent) Adaptor to the AN1x’s [DC IN]
connector located on the rear panel. Then
connect the adaptor to the nearest electrical
outlet.
3. Before sw itching on the pow er, connect any
peripheral devices such as amplified speakers,
FC Foot Controller or Footsw itch pedals, or
external MIDI instruments.
Do not attem pt t o use an AC adaptor other than the PA-3B ( or equivalent) . Use of an
incompatible adaptor may result in irreparable damage to the AN1x, and could even pose a
serious shock hazard.
Always be sure to disconnect the power adaptor from the electrical outlet when the AN1x is
not in use.
FOOT
VOLUME
FOOT
CONTROLLER
FOOT
SWITCH ON OFF DC IN R L/MONO
OUTPUT PHONES
POWER
ASSIGNABLE
MIDI
OUTTHRU IN
PA-3B Adaptor
DC IN

13
Connecting The AN1 x To
A M IDI Data Storage
Device
Yo u c an co nne ct the AN 1 x to a MIDI data sto rag e
device, such as the Yamaha MDF2 MIDI Data Filer, in
o rd er to “ bulk dump” , o r sa ve AN 1 x vo ic e, Step
Seque nce r and o ther d ata to flo pp y disks. This lets yo u
build up co mplete libra ries o f yo ur favo rite so unds,
seq uences and settings, whic h yo u c an easily lo a d
ba ck into the AN 1 x whenever yo u wish.
For information about how to perform Bulk Dump operations, see page 9 4 .
Switching On The Power
O nce a ll c o nnectio ns have b een pro perly made, yo u’ re
re ad y to switch o n the po wer a nd start making music with
yo ur AN 1 x.
1. Set the AN1x’s [VOLUME] knob to minimum
position.
2. Press the [POW ER] sw itch, located on the rear
panel.
After a brief greeting message which appears in the LCD,
the AN 1 x will po wer up and be ready to go .
3. Gradually turn the [VOLUME] knob to the
right w hile playing the keyboard until you
achieve a comfortable listening level.
VOLUME
MDR SEO JOB UTIL
MIDI
MIDIDATA FILTER
CURSOR - FILE DATA + REC PAUSE START/STOP
TEMPO
MDF2, etc.
AN1x
MIDI IN
MIDI OUT
MIDI IN
MIDI OUT
Playing The Demo
Songs
The AN1x comes preprogrammed w ith
demonstration songs w hich provide dynamic
examples of just how pow erful the AN1x really
is. To select and play a Demo, perform the
follow ing operation:
1. Press the [PORTAMENTO] and [LAYER]
sw itches simultaneously. The w ord “DEMO”
w ill appear in the LCD.
2. Press a PROGRAM CHANGE sw itch (0 - 9) to
select one of the 10 Demo songs. After a
brief moment the Demo song w ill begin, and
continue playing until the end.
3. When the Demo is finished, simply press
[-/ NO] to return to normal operating status.
The Demo song will continue playing repeatedly until you stop it. You can stop the
Demo song in the middle of play by pressing [ -/ NO] .
PROGRAM CHANGE
VWX
MNO
7YZ 8
PQR
5
GHI
2
–
4
DEF
1
ABC
0
OTHERS
STU
9
6
JKL
3
YES/ENTERNO
DEMO
PORTAMENTO LAYER

14
Selecting Voices
The AN 1 x c o mes with 1 2 8 vo ic es a lready prepro g ra mmed and
re ad y to pla y. N o t o nly a re these vo ices first-ra te a nd hig hly
useful in their o wn right, they fo rm a dynamic living exa mple o f
the AN 1 x’s vast so nic ra ng e a nd po w er, a s w ell as pro vide an
exc ellent ba sis fo r study o f ho w vo ice s a re co nstructed.
They a re also g re at fo r use as a starting po int fo r c rea ting yo ur
o wn vo ices— by ma king slight o r sig nific ant mo dific atio ns to suit
yo ur needs o r taste— which yo u c an then sto re in the AN 1 x’s
memo ry fo r instant rec all a t a ny time.
O f c o urse, if yo u wa nt to ro ll up yo ur sleeves a nd g et yo ur
hands o n the VCO , VCF and VCA to build up an o riginal
vo ic e fro m sc ratc h, yo u c an easily initialize a vo ice (i.e .,
reset each parameter value to its initial setting ) and start
fro m there. The AN 1 x even p ro vides a few handy
template s which sa ve yo u time and a ll the tedio us effo rt b y
making all the basic settings fo r c ertain types o f so unds fo r
yo u, so yo u c an pick up fro m there and c o nc entra te o n just
the fun a nd c reative stuff. (See pag e 3 0 ).
Voice Select Operation
Eac h o f the 1 2 8 vo ices has a Pro g ra m N umber
between 0 0 1 and 1 2 8 . Yo u select a vo ice using the
PRO G RAM CHAN G E keypa d. There are two wa ys to
do so , a s fo llo w s:
METHOD 1
Input a number betw een 1 and 128, then press
[ENTER].
METHOD 2
Press [+] or [–] to increment or decrement through
the voices sequentially.
The vo ic e name , a s w ell as vo ice C ateg o ry a nd
Pro g ra m N umber, appears in the LC D.
PROGRAM CHANGE
VWX
MNO
7YZ 8
PQR
5
GHI
2
–
4
DEF
1
ABC
0
OTHERS
STU
9
6
JKL
3
YES/ENTERNO
Basic Operation
You'll find the process of getting to know the
AN1x to be fun and inspiring—especially if you
keep a few fundamental things in mind as you
select and play the voices, try out the various
controls and experiment w ith the panel features
for the first time. Follow ing are some important
aspects about basic operation of the AN1x
w hich w ill help you keep things in their proper
context from the very start.
AN1 x Operating M odes
Fo r the mo st pa rt, e xcept when pe rfo rming a spec ific Sto re o r
MIDI b ulk dump o peratio n, the AN 1 x is b asically always in Vo ice
Play/ Edit mo de. This means that during play, as yo u turn the
vario us C O N TRO L kno bs, c ha ng e the pa ra meter value s o r
setting s using the Edit matrix [UP/ DO W N ] switches, select a
Layer mo de, etc., yo u are actually editing the vo ice. (The “ EDIT”
mark will appear in reverse type in the lo wer le ft a rea o f the LC D
the first time any vo ice data is changed.)
Ho wever, these c hang es o nly rema in in effec t a s lo ng as the vo ic e
is selected, unless yo u sto re the new ly edited vo ice using a Vo ice
Sto re o peratio n b efo re selec ting ano ther vo ice . If yo u do n’t sto re
the c ha ng es, they will be lo st when yo u select a differe nt vo ice.
The AN 1 x is a very fo rg iving instrument, ho wever. A Vo ice
Rec all functio n (see pa ge 9 6 ) lets yo u retrieve the edited data .
Plus, if yo u turn the po wer o ff b efo re sto ring an e dited vo ice ,
when yo u turn the po wer ba ck o n the edited paramete r
setting s will still be retained in the voice edit buffer.
There a re vario us o ther mo des, but these are simply sub -mo de s o f
Vo ice Play/ Edit mode (such as Step Sequencer mode for c rea ting
and editing Vo ice a nd User Patte rns; see pag e 3 7 ), sinc e virtually
all panel settings— including Scene, Layer, Effects, Arpeg g iato r,
Step Se quenc er setting s, and mo re— are sto red a s vo ice d ata fo r
eac h vo ic e (exc luding system-rela ted settings).

15
Voice Categories
Vo ices c an be o rg aniz ed into C ateg o ry types a nd
assig ned a two -letter C ateg o ry c o de during the vo ice
N ame o pera tio n. Fo r a list o f the a vaila ble Ca teg o ry
typ es, see pa ge 8 1 .
Scenes
Eac h vo ice has two “ Sce nes” , o r two distinct so unds
availa ble fo r insta nt reca ll at the pre ss o f a [SCEN E]
switch. Sinc e the specific Scene o n/ o ff status is sto re d
as vo ice da ta , when yo u select a vo ice an LED beside
o ne o f the [SCEN E] switc hes will lig ht to indicate whic h
Scene is active. (If bo th Scene LEDs light, the Scene
Co ntro l o n sta tus has b een sto red a s pa rt o f the vo ice ,
which means yo u c an mo rph, o r c ro ss-fade b etw een
Scenes using the assig nab le [MO DULATIO N ] wheel o r
any o ther a ssigned c o ntinuo us c o ntro ller a s yo u p lay.)
Fo r mo re info rmatio n ab o ut Scenes, see pag e 1 9 .
Voice Name Display
As yo u edit a vo ice b y turning the kno bs o r changing
para mete rs in the Edit menu, the info rmatio n in the
screen c ha ng es a cc o rding ly. To display the vo ic e name
and numbe r in the LC D a t a ny time, press [-] o r [+ ]
o nce .
Voice Recall
If yo u’ re e diting a vo ice, a nd ina dverte ntly select
ano ther vo ice befo re perfo rming a Vo ice Sto re
o pera tio n, o r simply c ha ng e yo ur mind, yo u ca n recall
the mo st recently edited vo ice data using the Vo ice
Rec all functio n. Fo r mo re info rmatio n, see pag e 9 6 .
–
YES/ENTERNO or
Press once
Indicates a voice
has been edited
but not stored.
Knob position settings 2
Knob position settings 1
Algorithm
Wave
Attack
Attack
ASSIGN 1 ASSIGN 2 ASSIGN 3 ASSIGN 4
PEG Decay
Wave
VCO1
Fine Fine
PEG Sw
FM Src2 LFO2 Spd
PmodDepth PmodDepth
Level
LFO1 Wave LFO1 Spd LFO1 Dly
PW
ASSIGN 5 ASSIGN 6 ASSIGN 7 ASSIGN 8
VCF
Cutoff
Sync
Pmod Sw
Sync Pitch
Pitch Pitch
PEG Depth
Decay
Decay
VCO2
Level
FM Depth FM Src1
Sync Pitch
Depth
Sustain Ring
Mod
Sustain
Sync Pitch
Src
Edge
Port Time
Edge
Release
Release
Noise
Level
PW
HPF
Feedback
VCF
PWM Depth PWM Src PWM Src PWM Depth
Type
Reso
nance
Volume
FEG
Depth Fmod
Depth
Amod Dept h
Vel
Sens Key Track
Vel Sens
Algorithm
Wave
Attack
Attack
ASSIGN 1 ASSIGN 2 ASSIGN 3 ASSIGN 4
PEG Decay
Wave
VCO1
Fine Fine
PEG Sw
FM Src2 LFO2 Spd
PmodDepth PmodDepth
Level
LFO1 Wave LFO1 Spd LFO1 Dly
PW
ASSIGN 5 ASSIGN 6 ASSIGN 7 ASSIGN 8
VCF
Cutoff
Sync
Pmod Sw
Sync Pitch
Pitch Pitch
PEG Depth
Decay
Decay
VCO2
Level
FM Depth FM Src1
Sync Pitch
Depth
Sustain Ring
Mod
Sustain
Sync Pitch
Src
Edge
Port Time
Edge
Release
Release
Noise
Level
PW
HPF
Feedback
VCF
PWM Depth PWM Src PWM Src PWM Depth
Type
Reso
nance
Volume
FEG
Depth Fmod
Depth
Amod Dept h
Vel
Sens Key Track
Vel Sens
CTRL
SCENE
Using The Controllers
The AN 1 x has vario us o n-b o ard co ntro llers which let yo u
co ntro l specific p arameters in real-time as yo u play.
Besides keybo ard Initia l a nd After To uch, these include
[PITCH] wheel, [MO DULATIO N ] wheel and [RIBBO N ]
co ntro ller, as well as the eig ht assig nable CO NTRO L
kno bs.
PITCH W heel
The [PITCH] whee l lets yo u b end the pitch up o r do wn
by a n a ssig na ble a mo unt. The pitc h b end “ de pth”
(ra ng e) ca n b e different fo r each Sc ene, a s set in the
Co ntro l Matrix.
The pitch bend range can be different for each Scene in each voice. You can also
use the [ PITCH] wheel to control other parameters. For information, see page 51.
M ODULATION W heel
The [MO DULATIO N ] wheel le ts yo u a pply varying
amo unts o f mo dulatio n to the so und a s yo u play,
depe nding o n a ssignment by the Utility Co ntro l Assign
functio n (see pag e 5 0 ) o r in the Co ntro l Ma trix (see
pag e 5 1 ).
You can also assign volume, pan or one of many other parameters to be
controlled by the [ MODULATION] wheel. For information, see page 95 . The
[ MODULATION] w heel can also be used to “ morph” between Scenes when the
Scene Control function is activated. For information, see page 20.
MODULATION
Maximum
Minimum
PITCH
Bends the pitch up
Bends the pitch down

16
RIBBON Controller
The [RIBBO N ] co ntro lle r le ts yo u c o ntro l two different
assig nab le para mete rs a s yo u play. Yo u ca n c o ntro l
o ne paramete r b y sliding yo ur fing er alo ng the X-axis,
and another by applying pressure to the Z-axis. You
ca n assig n paramete rs to the [RIBBO N ] c o ntro ller using
the Utility Assign Co ntro l functio n (see pa ge 5 0 ) o r the
Co ntro l Matrix (see pa ge 5 1 ).
You can assign different parameters to the [ RIBBON] controller for each voice. For
information, see page 7 5 .
To activate the Z-axis you must apply considerable pressure. A light touch will only
apply to the X-axis.
When you release your finger from the [ RIBBON] controller, the value may remain
at the same position as at the time of release, or reset to the center position
depending on t he Control Mat rix setting. ( See page 7 3 .)
CONTROL Knobs And
Parameter Groups
W hich para mete r is e dited b y e ac h C O N TRO L kno b fo r
eac h Scene depends o n whic h KN O B PARAMETER
G RO UP switch is currently selecte d, indicated by a lit LED
to the left o f it. Pressing a CO N TRO L knob (push-switch) o r
turning a kno b will cause its parameter name and value to
display in the LCD.
W hen yo u select a vo ice the [ASSIG N ] switch will
auto matica lly b e sele cted (unless the [EDIT RO TARY] switch
is set to SEQ EDIT/ SETUP), which lets yo u access the eig ht
para mete rs a ssig ned to the respec tive C O N TRO L kno bs.
For more information about the Utility Control Assign function, see pages 50 , 95.
KNOB PARAMETER GROUP
PEG/LFOSYNC/FM
VCO1 VCO2
MIX/ VCF
VCF
VCA ASSIGN
ASSIGN 4
Sync Pitch
Src
Edge
Port Time
Edge
Release
Release
Noise
Level
Selected parameter group
Selected CONTROL knob parameter
X-axis
Minimum Maximum
Z-axis
Apply pressure
W hen yo u set the [EDIT RO TARY] switch to the 5 th po sitio n
(SEQ EDIT/ SETUP menu), the CO N TRO L knobs will be
dedicated to the event parameters o f the vario us steps
(beats) o f the Step Se quencer.
In this situa tio n, no LED will b e lit in the KN O B
PARAMETER G RO UP sectio n, and the name o f the current
step event parameters will appear in the LCD when yo u
turn o r pre ss a kno b.
Simply pressing a KN O B PARAMETER G RO UP switc h will
re vert the sta tus ba ck to no rmal to ne g enerato r parameter
co ntro l, as will selecting a different Edit menu with the
[EDIT RO TARY] switch. As lo ng as the [EDIT RO TARY]
switch is still set to the SEQ EDIT/ SETUP menu, ho wever,
yo u c an p ress the selec ted KN O B PARAMETER G RO UP
switch a ga in to re vert to Step Sequencer co ntro l b y the
kno bs (i.e ., yo u c an to g g le bac k and fo rth b etwe en kno b
parameter co ntro l and step event data edit by pressing the
switch.)
For more information about the KNOB PARAMETER GROUP switches, see page 1 6 .
For more information about the CONTROL knobs, see page 16. For information
about the Step Sequencer, see page 3 7 .
Foot Controllers
The AN 1 x features [FO O T CO N TRO LLER], [FO O T VO LUME],
and [FO O TSW ITC H] ja cks fo r c o nnecting va rio us fo o t
pe da ls, each o f w hich c an b e a ssig ned to c o ntro l o ne o f
many type s o f a va ila ble o n-b o ard and e xte rnal pa ra me ters.
For more information about assigning controllers, see page 49.
Layer Modes And Portamento
O ne o f six La yer mo de s c an b e a ssigned to ea ch vo ice b y
pre ssing the [LAYER] switc h, a nd Po rta mento o n/ o ff sta tus
can be set by pressing the [PO RTAMENTO ] switch.
For more information about Layer modes, see page 22. For more information
about portamento, see page 24.
DEMO
PORTAMENTO
STORE ARPEGGIO/ SEQ
LAYER
KNOB PARAMETER GROUP
PEG/LFOSYNC/FM
VCO1 VCO2
MIX/ VCF
VCF
VCA ASSIGN
ASSIGN 4
Sync Pitch
Src
Edge
Port Time
Edge
Release
Release
Noise
Level
Knob
Event 1-8/9-16 SEQ
EDIT/ SETUPStep Hold Pattern
Bank No BaseUnit Length LoopType Ctrl No SEQ
Store

17
AN1 x Quick Tour
This section provides a “hand’s on” journey through the key features you’ll access regularly as you
select voices, tw eak sounds and adjust settings for the various parameters.
Exploring The Factory-set Voices
Ta king the time to systema tic ally e xplo re vario us a spec ts o f the 1 2 8 fac to ry-set vo ice s is an excellent wa y to get a tho ro ug h
unde rstanding o f the AN 1 x’s so nic ra ng e a nd po we r. It’s a lso a natural way to quic kly familiarize yo urself with so me o f the
fundamenta l o pera tio ns yo u’ ll use d uring perfo rmance a s w ell as in vo ice , Arpe gg iato r, Step Seq uencer a nd Fre e EG cre atio n
and editing sessio ns.
Try the simple o pe ratio ns which fo llo w as yo u select and pla y eac h pre set vo ice, and ta ke no te o f what happ ens to the so und
as yo u c ha ng e the vario us setting s. If, a lo ng the wa y, yo u stumble upo n a so und yo u w ant to ke ep, simply perfo rm a Vo ice
Sto re o peratio n (see pag e 9 8 ). If, ho we ver, yo u mess up a so und to o much, there’s no need to wo rry: Just resele ct the same
vo ic e to retrieve the o riginal so und da ta a nd start o ver ag ain! Unless yo u perfo rm a Vo ice Sto re o p eratio n, no c hang es yo u
make will be pe rmanent. Even if yo u d o decide to sto re a vo ice, yo u nee d no t wo rry a bo ut lo sing any o f the fa cto ry-set
voices permanently, beca use the entire bank can be recalled (see pag e 1 0 0 ).
3Compare Scenes, and morph betw een Scenes
using Scene Control.
●W hen yo u select a vo ice , the LED beside the
[SCEN E 1 ] o r [SCEN E 2 ] switch (o r b o th LEDs) will
be lit, indicating the Scene status which was sto red
as vo ice da ta . Pre ss e ac h switch to co mpa re the
difference b etw een the so und o f Scene 1 and
Scene 2 .
●Press bo th [SCEN E] switches simultaneo usly to
ac tivate the Sc ene C o ntro l functio n, then ro ll the
[MO DULATIO N ] wheel forward and back to
mo rph, o r c ro ss-fade b etwe en Sc enes as yo u p lay.
For more information about Scenes and Scene morphing, see page 19.
1Select a voice.
●Use the PRO G RAM CHAN G E keypa d to select a
vo ice (1 - 1 2 8 ).
For information about selecting voices, see Basic Operation, page 14.
2Check LCD status.
●W hen yo u select a vo ice , first take a lo o k at the
info rmatio n which appe ars in the LCD, such a s Po ly
mo de (“ PO LY” , “ MO N O ” , “ LEG ATO ” ), La yer mo de
(“SIN G LE” , “ UN ISO N ” , “ DUAL”, “ SPLIT”, etc.), and
whether the Arpeg g ia to r (“ ARP” ) o r Seq ue nc er
(“ SEQ ” ) is o n. This revea ls the funda me nta l na ture
o f a vo ic e at-a -g la nc e.
This area displays Arpeggiator/
Sequencer on/off and hold status
This area displays Layer mode status
This area displays Poly mode status
VOLUME
CTRL
SCENE
Algorithm
Wave
Attack
Attack
ASSIGN 1 ASSIGN 2 ASSIGN 3 ASSIGN 4
PEG Decay
Wave
VCO1
Fine Fine
PEG Sw
FM Src2 LFO2 Spd
PmodDepth PmodDepth
Level
LFO1 Wave LFO1 Spd LFO1 Dly
PW
ASSIGN 5 ASSIGN 6 ASSIGN 7 ASSIGN 8
VCF
Cutoff
Sync
Pmod Sw
Sync Pitch
Pitch Pitch
PEG Depth
Decay
Decay
VCO2
Level
FM Depth FM Src1
PHONES L/ MONO
OUTPUT
RDC IN POWER FOOT
VOLUME FOOT CONTROLLER FOOT
SWITCH
Sync Pitch
Depth
Sustain Ring
Mod
Sustain
Sync Pitch
Src
Edge
Port Time
Edge
Release
Release
Noise
Level
PW
HPF
Feedback
VCF
PWM Depth PWM Src PWM Src PWM Depth
Type
Reso
nance
Volume
FEG
Depth Fmod
Depth
Amod Dept h
Vel
Sens Key
Track
Vel Sens
IN OUT
MIDI
THRU
PROGRAM CHANGE
VWX
MNO
7YZ 8
PQR
5
GHI
2
–
4
DEF
1
ABC
0
OTHERS
STU
9
6
JKL
3
YES/ENTERNO
DEMO
PORTAMENTO
STORE ARPEGGIO/SEQ
LAYER
Mode
Poly Por t
Tempo Split Pnt
Track Common
Trigger LoopType
Common
Arp/SEQ Type/No
Knob
Event 1-8/9-16
System
Mstr Tune Kbd Trans
VOICE
SCENE SETUP
VOICE
COMMON
VOICE
FREE EG
VOICE
ARPEGGIO/ SEQ
SEQ
EDIT/ SETUP
UTILITY
SETUP
LFO Rst Ctrl Matrix Set No
Vari EF/EQ
Param Data
Length Key Track
KbdMode Hold
Step Hold Pattern
Bank
Kbd Vel MIDI
Tx Ch
Param Source
Vari EF
Dry:Wet Dly /Rev EF
Param
Param
Track
Track No
SceneSw MIDI
Ptn Tx Ch
No Base Unit
Rx Ch Devic eNo Local BulkDump
Length LoopType
Arpeggio
Subdivide Play EF Swing
SceneSw Track Job
Rec
Data
Depth
EF
Bypass
Layer
Pan Separate Unison
Detune
Name
Cursor Char
Copy Undo
Velocity GateTime
Ctrl No SEQ
Store
Ctrl
Device Ctrl No
KNOB PARAMETER GROUP
PEG/LFOSYNC/FM
VCO1 VCO2
MIX/ VCF
VCF
VCA ASSIGN

18
4Turn the CONTROL knobs.
●Press a KN O B PARAMETER G RO UP switch and turn
each CO N TRO L kno b as yo u play each Scene to
hear ho w it affects the sound. There are eight
different g ro ups o f parameters a ssig ned to the
kno bs a t the facto ry. The se le t yo u e dit the to ne
g enera to r p arameters as printe d o n the pa nel
beside each kno b. N o tice ho w ea sy it is to edit
and drastica lly change the voice.
For more information about using the CONTROL knobs, see page 26.
5Compare Layer modes.
●Press the [LAYER] switch to co mpare the difference
o f eac h o f the six La yer mo des a s yo u play, o ne a t
a time.
For more information about Layer modes, see page 22.
6Change Poly mode setting.
●To he ar ho w the keybo a rd Po ly setting affects ho w
the voice can be pla yed, set the [EDIT RO TARY]
switch to the VO ICE SCEN E SETUP menu and press
the Po ly [UP/ DO W N ] switc h to select PO LY,
MO N O o r LEG ATO . Then play the keybo ard.
For more information about Poly mode, see page 72.
7Turn [ARPEGGIO/ SEQ] on and off.
●If the vo ice uses the Arpeg g iato r (“ ARP” appears in
the LCD) o r Se quenc er (“ SEQ ” a pp ea rs in the LCD),
press the [ARPEG G IO / SEQ ] switch to turn it o ff
and hear ho w the vo ic e so unds witho ut the pa ttern.
●Pa y atte ntio n to ho w the a rpeg gio o r sequence is
triggered— either acro ss the entire length o f the
ke ybo ard, o r o nly to the left o f the Split Po int. In the
ca se o f the Step Sequencer, so me vo ic es a re
pro g ra mmed to let yo u trigg er a different pattern
fro m e ac h key to the left o f the Split Po int.
●Set the [EDIT RO TARY] switch to the VO ICE
ARPEG G IO / SEQ menu a nd press KbdMo de
[UP/ DO W N ] o nce to co nfirm the setting w hich
determines how the pa ttern is trigg ered. N ext, set
the [EDIT RO TARY] switch to the VO ICE SCENE
SETUP menu and pre ss Po ly [UP/ DO W N ] a nd
co mpa re the way the different Po ly mo de setting s
affec t the pa ttern a s yo u play the ke ybo a rd.
●If the vo ic e do es no t use the Arpeg g ia to r o r Step
Sequencer, press [ARPEG G IO / SEQ ] to turn o n the
Arpeg giato r o r Step Seq uence r and hear ho w no tes
and c ho rd s a re a ffected.
For more information about the Arpeggiator, see page 33. For information about
the Step Sequencer, see page 3 7 .
8Change arpeggio Tempo, Pattern Type,
Subdivision, and Hold status.
●To speed up o r slo w do wn the Arpeg g iato r pattern
(o r sequence), set the [EDIT RO TARY] switch to the
VO ICE CO MMO N menu and press Tempo
[UP/ DO W N ] until yo u a chieve the desired ra te.
For more information about Tempo, see page 7 7 .
●To try o ut the 3 0 different preset Arpeg giato r
pattern types, set the [EDIT RO TARY] switch to the
VO ICE ARPEG GIO / SEQ menu and press the
Type/ No [UP/ DO W N ] switch and step thro ugh
each pattern.
For more information about the Type/ No parameter, see page 34.
●To he ar ho w the timing reso lutio n o f a pa ttern
changes with the 1 0 different Subdivide settings, set
the [EDIT RO TARY] switch to the VO ICE
ARPEG G IO / SEQ menu a nd press Arpeg g io
Sub divide [UP/ DO W N ] to step thro ug h eac h.
For more information about Arpeggio Subdivide, see page 3 4 .
9Change Effects and adjust EQ.
●To he ar the differe nt Variatio n a nd EQ effects a nd
setting s, set the [EDIT RO TARY] switch to the VO ICE
CO MMO N menu and press Vari EF/ EQ Param
[UP/ DO W N ] and Data [UP/ DO W N ] switches
ac co rding ly. Also press the Va ri EF Dry:W e t
[UP/ DO W N ] to change the balance between “ dry”
(no rmal) a nd “ we t” (effe cte d) sig nals.
For more information about Vari EF/ EQ, see page 77.
●To hear the different Delay and Reverb effects and
setting s, press Dly/ Rev EF Param [UP/ DO W N ] and
Data [UP/ DO W N ] switc hes a cc o rding ly.
For more information about Dly/ Rev EF mode, see page 7 9 .
●To bypass spe cific o r all effects and hea r ho w the
voice sounds in its pristine state, press EF Bypass
[UP/ DO W N ] and change the sta tus ac co rding ly.
EF Bypass is a system parameter, and therefore w ill remain as you set it
regardless of w hich voice is selected. For more information, see page 8 0 .

19
Assignable Real-time Controllers
Yo u can assig n specific parameters to the assig nab le
co ntro ller o f yo ur c ho ice, inc luding the e ig ht C O N TRO L
kno bs, [MO DULATIO N ] whee l, [RIBBO N ] c o ntro lle r (X-axis
and Z-axis) a nd ke ybo a rd Afte r To uc h, a s w ell a s (o ptio nal)
[FO O T VO LUME], [FO O T CO N TRO LLER] and
[FO O TSW ITC H] pe da ls. Co ntro ller a nd paramete r
assig nments are mad e using the Co ntro l Matrix (see pag e
7 3 ) a nd the Utility C o ntro l Assig n functio n (see pag e 9 5 ).
For more information about controllers, see Using The Control Features, page
49.
Selecting Scenes
And Scene M orphing
The AN1x’s Scene select and play functions offer
an exciting range of sophisticated and
convenient real-time sound control options that
let you express yourself musically in completely
unique w ays. The [SCENE] switches let you select
a Scene or activate the Scene Control function.
Parameters Stored In Each Scene
• All para me ter g ro up C O N TRO L kno b po sitio n setting s
(except fo r the [ASSIG N ] g ro up ).
• VO ICE SCEN E SETUP Menu Mo de a nd C o ntro l Matrix
(exclud ing co mmo n) p ara mete r setting s.
• VO ICE CO MMO N menu Vari EF Dry:W et settings.
Scene M emories
Eac h vo ice has two Scene memo ries, e ach o f whic h c an
have a different edit using the CO N TRO L knobs. Either
Scene can be recalled at a ny time during play by pressing
[SCEN E 1 ] o r [SCEN E 2 ]. An LED to the left o f the selecte d
switch will light to indicate the active Scene.
Due to the virtually unlimited number o f results po ssible by
selecting KN O B PARAMETER G RO UP switches and turning
the C O N TRO L kno bs, ea ch o f the two Scenes ca n b e as
simila r o r ra dically different a s yo u w ant. This g ives yo u
two spec ific so unds to cho o se fro m a t a ny time w ithin ea ch
o f the 1 2 8 vo ice s, a t the simple press o f a [SCEN E]
switch.
Scenes are e spec ially handy fo r c rea ting slig ht variatio ns
o n the sa me so und fo r use during d iffere nt pa rts o f a
so ng — say, o ne with fast attack that c uts thro ug h the mix
during rhythmic phrases, a nd o ne with a slo we r attac k
that’s mo re suita ble fo r a pa d. And o f c o urse, if the two
Scenes are c o mpletely different fro m eac h o ther— say o ne
so und prepa red fo r verse and cho rus, and ano ther fo r a
so lo bre ak— it’s a lo t simpler to switch b ac k a nd fo rth
between Scenes than it is to switch between vo ices,
espe cially under the pre ssure o f a live situatio n.
Knob position settings 2
Knob position settings 1
Algorithm
Wave
Attack
Attack
ASSIGN 1 ASSIGN 2 ASSIGN 3 ASSIGN 4
PEG Decay
Wave
VCO1
Fine Fine
PEG Sw
FM Src2 LFO2 Spd
PmodDepth PmodDepth
Level
LFO1 Wave LFO1 Spd LFO1 Dly
PW
ASSIGN 5 ASSIGN 6 ASSIGN 7 ASSIGN 8
VCF
Cutoff
Sync
Pmod Sw
Sync Pitch
Pitch Pitch
PEG Depth
Decay
Decay
VCO2
Level
FM Depth FM Src1
Sync Pitch
Depth
Sustain Ring
Mod
Sustain
Sync Pitch
Src
Edge
Port Time
Edge
Release
Release
Noise
Level
PW
HPF
Feedback
VCF
PWM Depth PWM Src PWM Src PWM Depth
Type
Reso
nance
Volume
FEG
Depth Fmod
Depth
Amod Dept h
Vel
Sens Key
Track
Vel Sens
Algorithm
Wave
Attack
Attack
ASSIGN 1 ASSIGN 2 ASSIGN 3 ASSIGN 4
PEG Decay
Wave
VCO1
Fine Fine
PEG Sw
FM Src2 LFO2 Spd
PmodDepth PmodDepth
Level
LFO1 Wave LFO1 Spd LFO1 Dly
PW
ASSIGN 5 ASSIGN 6 ASSIGN 7 ASSIGN 8
VCF
Cutoff
Sync
Pmod Sw
Sync Pitch
Pitch Pitch
PEG Depth
Decay
Decay
VCO2
Level
FM Depth FM Src1
Sync Pitch
Depth
Sustain Ring
Mod
Sustain
Sync Pitch
Src
Edge
Port Time
Edge
Release
Release
Noise
Level
PW
HPF
Feedback
VCF
PWM Depth PWM Src PWM Src PWM Depth
Type
Reso
nance
Volume
FEG
Depth Fmod
Depth
Amod Dept h
Vel
Sens Key Track
Vel Sens
CTRL
SCENE

20
Scene Edit Buffers
W hen yo u sele ct a vo ic e, the two Scene s a re lo aded into the
Scene e dit b uffers. Since ea ch Sce ne has its o wn b uffer, yo u
can “ wo rk” o n each Scene separately. Fo r exa mple, if
[SC EN E 1 ] is se lecte d a nd yo u e dit its para me ters b y turning
the knobs, this data will be maintained in Scene 1 even if
yo u sele ct [SC EN E 2 ] and sta rt editing it. W hen yo u switch
back to Scene 1 , it will recall yo ur e dited da ta (and no t the
o rigina l Sc ene 1 da ta sto red with the vo ice ).
There ’s a lso a Sc ene C o ntro l buffer, w here para me ter
changes by mo ving the [MO DULATIO N ] wheel (as well as
CO N TRO L kno b p o sitio ns w hen Scene C o ntro l is a ctive ) ta ke
place. This so und can be sto red in either Scene edit b uffer a t
any time using the Scene Sto re o peratio n.
Sinc e Scene e diting, a s well a s Sc ene Sto re , Lo a d a nd Swap
o pe ratio ns (see pag es 2 1 , 2 2 ), a re ta king place in the Sc ene
edit b uffers, yo u need no t wo rry abo ut lo sing yo ur o rig inal
Scene d ata as sto red with the selec te d vo ice , unle ss yo u
pe rfo rm a Vo ice Sto re o pera tio n to the sa me vo ice lo catio n.
Ho wever, sinc e the Scene b uffe r is vo la tile , yo u w ill lo se yo ur
edite d Sc ene d ata unle ss yo u perfo rm a Vo ice Sto re
o pe ra tio n b efo re selecting ano ther vo ice .
For information about performing a Voice Store operation, see page 9 8 .
Scene
Scene Control
Buffer Tone
Generator
Scene Control knobs
1-8
Scene Edit
Buffers
Tone
Generator
Scene
Scene
Control knobs
1-8
Scene Edit
Buffers
CTRL
SCENE
Scene Control
The Scene Co ntro l functio n lets yo u “ mo rph” , o r c ro ss-fade
between the two Sce nes b y ro lling the assig nab le
[MO DULATIO N ] wheel, o r using an a ssignable Fo o t
Co ntro ller o r a ny o ther co ntinuo us co ntro ller.
For information about assigning controllers, see page 9 5 .
The pro c edure fo r a ctiva ting the Scene C o ntro l functio n is
as fo llo ws:
1. Press both [SCENE] sw itches simultaneously.
The LEDs to the left of both sw itches w ill light
to indicate that Scene Control is active.
2. Roll the [MODULATION] w heel forw ard and
back (or use a Foot Controller, etc.) as you
play.
The minimum va lue o f the [MO DULATIO N ] whee l (o r Fo o t
Co ntro ller, etc .) p lays Scene 1 ; the maximum value pla ys
Scene 2 ; any p o sitio n b etw een the two extremes (b etw een
a ra ng e o f 0 a nd 1 2 7 ) will pla y a blend o f b o th Scenes
ac co rding ly.
MODULATION
Scene 1 setting Scene 1/2
equal balance
Minimum
Maximum
Halfway
MODULATION
Scene 2 setting
MODULATION
Scene 2 settings
Scene 1 settings
MODULATION
Scene 1
Scene 2 VOLUME
CTRL
SCENE
Algorithm
Wave
Attack
Attack
ASSIGN 1 ASSIGN 2 ASSIGN 3 ASSIGN 4
PEG Decay
Wave
VCO1
Fine Fine
PEG Sw
FM Src2 LFO2 Spd
PmodDepth PmodDepth
Level
LFO1 Wave LFO1 Spd LFO1 Dly
PW
ASSIGN 5 ASSIGN 6 ASSIGN 7 ASSIGN 8
VCF
Cutoff
Sync
Pmod Sw
Sync Pitch
Pitch Pitch
PEG Depth
Decay
Decay
VCO2
Level
FM Depth FM Src1
Sync Pitch
Depth
Sustain Ring
Mod
Sustain
Sync Pitch
Src
Edge
Port Time
Edge
Release
Release
Noise
Level
PW
HPF
Feedback
VCF
PWM Depth PWM Src PWM Src PWM Depth
Type
Reso
nance
Volume
FEG
Depth Fmod
Depth
Amod Dept h
Vel
Sens Key Track
Vel Sens
VOLUME
CTRL
SCENE
Algorithm
Wave
Attack
Attack
ASSIGN 1 ASSIGN 2 ASSIGN 3 ASSIGN 4
PEG Decay
Wave
VCO1
Fine Fine
PEG Sw
FM Src2 LFO2 Spd
PmodDepth PmodDepth
Level
LFO1 Wave LFO1 Spd LFO1 Dly
PW
ASSIGN 5 ASSIGN 6 ASSIGN 7 ASSIGN 8
VCF
Cutoff
Sync
Pmod Sw
Sync Pitch
Pitch Pitch
PEG Depth
Decay
Decay
VCO2
Level
FM Depth FM Src1
Sync Pitch
Depth
Sustain Ring
Mod
Sustain
Sync Pitch
Src
Edge
Port Time
Edge
Release
Release
Noise
Level
PW
HPF
Feedback
VCF
PWM Depth PWM Src PWM Src PWM Depth
Type
Reso
nance
Volume
FEG
Depth Fmod
Depth
Amod Dept h
Vel
Sens Key
Track
Vel Sens
CTRL
SCENE